Question about famous painting.?

Question

what is the name of the famous painting, where the two men are touching fingers. I know the painting is in a Cathedral anyone know the name, and the meaning behind the painting.

Answer 1

This famous fresco painting stands on the celling of the Capela Sistina in Vatican. It was made by Michelangelo Buonarroti.
For more information's:
http://www.michelangelo.com/buon/bio-index2.html

Answer 2

The Creation.........
Michelangelo was commissioned by Pope Julius II to paint the ceiling of the Sistine Chapel.

The reason behind it is that the Pope wanted the creation of the world painted and that is just one part of the massive fresco.

Answer 3

It's on the ceiling of the Sistine Chapel. It's called "The Creation of Adam" and it was painted by Michelangelo.

Answer 4

You are referring to God touching Adam's finger in infusing him with life in the creation painted by Michelangelo.

The Sistine Chapel in Vatican City, Rome, Italy.

Answer 5

the ceiling of the Sistine chapel in Rome was painted by Michaelangelo and shows God giving life to Adam by touching his fingers. It signifies the divine essence flowing from Him to His creation.

Answer 6

Sistine Chapel, Michaelangelo
One figure is Adam, the other bearded figure is God. The meaning is God giving life to Adam. Get a copy of "Michaelangelo and the Pope's Ceiling". It's very interesting.

Answer 7

Those aren't just men, it's a depiction of God giving Adam the gift of life. It's on the ceiling of the Sistine Chapel in Rome.

Answer 8

The work you describes is Michelangelo's fresco of the Creation of Adam. It is found on the ceiling of the Sistine Chapel in Rome.

The Sistine Chapel Ceiling
In April 1508, Michelangelo was summoned back to Rome by Julius II, but he was still not able to start on the papal tomb. In fact Julius II had a new job for him: painting twelve figures of apostles and some decorations on the ceiling of the Sistine Chapel. Buonarroti, who had always regarded himself as a sculptor, would now have to perfect the art of fresco. It seems that the pope had been advised to make this move by Bramante and other artists working at his court, who did not take kindly to Michelangelo's presence: "And this thing they did with malice, to distract the pope from matters of sculpture; and since they were sure that he, either by not accepting this undertaking, would turn the pope against him, or by accepting it would do much less creditable work than Raphael of Urbino, to whom, out of hatred for Michelangelo, they gave every support."

At first, Buonarroti tried to turn down the commission, but in vain. And then, during the realization of the work, that mysterious liking that the artist and the pope had, at bottom, for one another yielded its fruit. Julius II let himself be swayed by Michelangelo's creative frenzy, and both were carried away by their enthusiasm over more and more ambitious plans. So, Michelangelo was given carte blanche: by October 31st, 1512, he had painted over 300 figures on the ceiling of the Sistine Chapel.

In May 1508, Michelangelo began to make the preparatory designs for the Sistine ceiling. It was not until the fall that he started the actual painting, calling on the assistance of Giuliano Bugiardini, Aristotele da Sangallo, and his old friend Francesco Granacci, along with a number of laborers.

However the work did not proceed as the master wished, and he soon fired all of his assistants, removed what had already been painted and, between the end of 1508 and January 1509, recommenced the whole demanding enterprise on his own. Condivi recalls that "as a result of having painted for so long a time, keeping his eyes fixed on the ceiling, he saw little when he looked down; if he had to read a letter or some other small thing, he was obliged to hold it above his head."

Extremely jealous of his work, he refused to show it to anyone but the pope, though the latter was always insisting that he finish it quickly, and often climbed the scaffolding to see how the fresco was proceeding. The pressure on the artist was such that he uncovered it in August 1511, even before it was finished. The sight of these highly original paintings made a great impression on the artists of the time. Raphael, who was painting the nearby Stanze, was so influenced by them that his own style altered as a result, becoming more plastic and sculptural as the decoration proceeded.

The project was physically and emotionally torturous for Michelangelo. Michelangelo recounts its effect on him with these words: "After four tortured years, more than 400 over life-sized figures, I felt as old and as weary as Jeremiah. I was only 37, yet friends did not recognize the old man I had become."

Working high above the chapel floor, on scaffolding, Michelangelo painted, between 1508 and 1512, some of the finest pictorial images of all time. On the vault of the papal chapel, he devised an intricate system of decoration that included nine scenes from the Book of Genesis, beginning with God Separating Light from Darkness and including the Creation of Adam and Eve, the Temptation and Fall of Adam and Eve, and the Flood. These centrally located narratives are surrounded by alternating images of prophets and sibyls (Libyan, Erythraean) on marble thrones, by other Old Testament subjects, and by the ancestors of Christ. In order to prepare for this enormous work, Michelangelo drew numerous figure studies and cartoons, devising scores of figure types and poses. These awesome, mighty images, demonstrating Michelangelo's masterly understanding of human anatomy and movement, changed the course of painting in the West.






This comes from dangling from the ceiling–
I'm goitered like a Lombard cat
(or wherever else their throats grow fat)–
it's my belly that's beyond concealing,
it hands beneath my chin like peeling.
My beard points skyward, I seem a bat
upon its back, I've breasts and splat!
On my face the paint's congealing.

Loins concertina'd in my gut,
I drop an **** as counterweight
and move without the help of eyes.

Like a skinned martyr I abut
on air, and, wrinkled, show my fat.
Bow-like, I strain toward the skies.

No wonder then I size
things crookedly; I'm on all fours.
Bent blowpipes send their darts off-course.

Defend my labor's cause,
good Giovanni, from all strictures:
I live in hell and paint its pictures.

Michelangelo Buonarroti


Here's a link to a Michelangelo website where you can view the work.

http://www.michelangelo.com/buon/bio-index2.html

Answer 9

Are you referring to the Creation of Adam panel in Michelangelo's sistine ceiling frescoe in the Vatican?

Answer 10

the Cafe' by Van Gogh or whatever it's called. The Screamer is a great one as well. Ma and Pa Kettle...the old folk standing in front of the house with Pa holding the pitch fork...that would be awesome as well.